Strip Talk #32: The cancellation of Joss Whedon

Finally, we get to the cancellation of Joss Whedon

There are some die-hard Buffy the Vampire Slayer fans out there — I know a few — and they cling hard to the show for whatever reason. I am not among them. While I loved the movie it’s based on, I always felt the show tried too hard to be hip, so I never bought into the mythos. And, because of that lack of faith, I never quite bought into the reverence for Joss Whedon.

As the Buffy ethos grew, so did Whedon’s reputation for crafting brilliant shows and characters that people connected with. While I’m aware that Whedon also wrote the movie, I was always meh about the later Buffy craze, Firefly and Serenity never caught my attention and Dr. Horrible’s Sing-Along Blog seemed dumb.

With these strikeouts, I thought, “Well, maybe I’m just not giving him a chance to shine. It must be me.” And there was a period of greatness. The Avengers is one of my favorite movies ever, and it’s not just because I love Marvel. Whedon did a fantastic job with the writing and directing. Things looked promising and maybe, I thought, I made a mistake. No, I didn’t, as I soon learned.

First, there was Age of Ultron. And then the original Justice League cut. And then the allegations of mistreatment. Now, what we couldn’t put our finger on before about why we didn’t care for Whedon reared its ugly head. He always came across as smug and smarmy. Like, he knew he was untouchable, and no one could say anything to him because he created Buffy the Vampire Slayer. It’s a “don’t you know who I am” type of attitude that’s been there since the beginning, and it’s off-putting. Except for the Avengers, I have never been able to get down with anything he’s ever produced, and I have no regrets about it. For Whedon to be smug, he’d have to show me something that wasn’t corny as hell, overwrought with cliches and not the most boring story in existence.

Given Whedon’s penchant for bullying and harassing, dumb behavior, it’ll be a long moment before we hear from him again. It will not be a moment too soon. Maybe in his downtime, he can find a sliver of a soul and learn how to not be a trash human being. And maybe find some real talent to match that bravado while he’s cooking in his well-deserved time out.

Lyndsey Beatty is editor-in-chief of Gaming Insurrection. She can be reached by email at lyndseyb[at]gaminginsurrection.com

Property Review: Zack Snyder’s Justice League

Snyder Cut rights a grave wrong

Sometimes, setting a precedent is a necessary evil.

The theatrical release of Justice League in 2017 was an unmitigated disaster. The plot was all over the place, the editing was unpolished, and it generally didn’t seem ready for release. But, the rumors began of another cut by the original director Zack Snyder. Snyder, who had stepped down for personal reasons, was generally regarded as someone who knew what they were doing when it comes to comic book film adaptations (see Man of Steel, 300 and Watchmen). This cut was much longer but supposedly closer to the original vision of what Justice League should have been.

The Snyder Cut was that and much more.

Putting together a coherent feature, the Snyder Cut is infinitely more watchable than the original cut of the film. Character motivations make more sense, important details are emphasized, and subplots and sometimes even characters are restored. Snyder’s delicate touch and worldbuilding are vital with an ensemble picture such as this, and it shows in the many changes made to correct.

One of those material effects is the origin story of Cyborg. With Snyder’s vision restored and more of the important details of his transition from human to cyborg, Cyborg is more present than he ever hoped to be in the original cut. Actor Ray Fisher is a force to be reckoned with in the film, and through this re-characterization you can immediately see why. Fisher must balance the nature of humanity versus machine after Victor Stone’s accident, and he does so with stunning aplomb.

Also of note, The Flash, as portrayed by Ezra Miller, is also superb with the restoration of his character in Snyder’s version. Miller takes the character from jokester to serious world-saving hero with several amazing scenes, including one that eventually won an Academy Award. Though this is not a review of Warner Bros.’ failures, take note that the scene that won the Oscar was among quite a few that the studio and theatrical director Joss Whedon cut from the original final product.

Snyder’s final cut blows away the original theatrical cut and makes good use of the extended run time. It’s almost as if an ensemble film should be this long and this good on purpose. While we’re not fans of the precedent set in having multiple releases of the same film, the original cut of Justice League was an abomination that necessitated the Snyder version’s release. Trust us when we say the film only has room for one abomination in the form of Darkseid.

Story: 8
Acting: 10
Like the comics?: 9

Total score: 27/30 or 9.0

 

HOW WE GRADE

We score the properties in three categories: Casting (or voice acting in cases of animated), plot and similarities to its source material. Each category receives points out of the maximum of 10 per category and 30 overall. The percentage is the final score.

Otaku Corner: Outlaw Star Ep. 1-26

Outlaw Star shines among anime of early aughts

I’m paying homage to an anime series that has made a major impact on otaku culture as well helped in the renaissance of anime in America.

First, I’ll give a little background. Sunrise Beyond Inc. is well known for its globally acclaimed series Gundam. It has also helped contribute to and worked with Cartoon Network with its Toonami/Adult Swim blocks, presenting new classics such as The Big O, Cowboy Bebop and Inuyasha. But Sunrise brought a series to Cartoon Network that helped anime rebound in American pop culture. That series is Outlaw Star.

Licensed by Bandai Entertainment in 1999 and broadcasted on Cartoon Network in 2001 and 2002, Outlaw Star tells the story of Gene Starwind and best friend-business partner James “Jim” Hawking, who run a jack-of-all trades business on the planet Sentinel III. Their lives are changed forever when an outlaw named Hot Ice Hilda hires them as bodyguards while recovering a stolen spaceship — later known as the Outlaw Star — and its navigational system to find the “Galactic Layline,” a fabled place which holds immense treasure, knowledge, and power. Outlaw Star has some similarities to Cowboy Bebop in the theme of a Space Western type of anime. Early on, I was introduced to the main characters, but I learned later that the makeup of the cast would change. When Gene, Jim and Hilda reach the hiding place of the Outlaw Star, they’re attacked by the Kei pirates, who are after Hilda for stealing the ship. Hilda battles the pirates, stalling for Gene and Jim to escape with the ship and its navigation system named Melfina. Hilda dies, unfortunately, when she activates a hidden bomb that vaporizes her and the pirates.

The series continues with Gene and crew taking on various jobs to manage maintenance and gaining new crew members, such as assassin “Twilight” Suzuka and former Ctarl-Ctarl government officer Aisha ClanClan. In addition to the Kei pirates, Gene must deal with the bounty hunting MacDougall brothers and the scheming Professor Gwen Kahn while uncovering the mystery surrounding Melfina and the Galactic Layline. Gene and company are always looking to make money while spending it and sometimes laugh at the escapades they get into while trying to do so.

The character designs are very good, but the stars of the show are the actual ships designed by Juniya Ishigaki and Shoji Kawamori, who designed the Outlaw Star. The show’s main and ending themes begin with a strong masculine theme then change to a child-like lullaby and a slow pop song that can calm the most frustrated otaku. The voice dub cast is excellent with Bob Buchholz as Gene, Brianne Siddall as Jim, Emily Brown as Melfina, Lenore Zann as Aisha, and Wendee Lee as Suzuka. Outlaw Star also benefited from having Beau Billingslea as the narrator and Mary E. McGlynn as Hilda. Another voice actor that contributed was Barbra Goodson, known for her work on “Mighty Morphin Power Rangers as “Rita Repulsa,” as a guest voice. This series showed that Sunrise employed excellent voice actors with high quality designs and strong storytelling to bring a show that would have been overlooked to the forefront with enthusiastic fan support.

Outlaw Star is a show among the Toonami/Adult Swim lineup that kept the programing blocks alive in addition to reviving anime passion in America. Fortunately, you can find this classic series on the Funimation now and Hulu streaming services.

If anything, Outlaw Star teaches all otaku like me: Go forth, seek your fortune and do not fear failure.

Brandon Beatty is editor-at-large of Gaming Insurrection. He can be reached by email at brandonb[at]gaminginsurrection.com

Anime Lounge #22: Horimiya Episodes 1-12

Series: Horimiya

Episodes: 1-12

Premise: An outgoing girl (Kyouko Hori) notices a shy boy (Izumi Miyamura) in her class and wonders why he doesn’t have any friends. At the same time, they meet outside of class when Miyamura looks completely different. Their friendship blossoms and eventually they confess to having feelings for each other. Where their relationship and that of their friends and acquaintances takes them is the meat of the story.

Is it worth watching?: Yes. Outstanding visuals and a mature story about the feelings of young people becoming adults makes for a compelling anime. The intro theme is also fantastic.

Breakout character: Izumi Miyamura. He goes from super shy guy to outrageously cute pierced and tattooed guy every day and settles somewhere in between. His glow up is amazing once he develops confidence.

Where it’s going?: The relationship between Hori and Miyamura intensifies, and it’s obvious this will lead to marriage down the line. The fun will be in getting there. There is a second season announced, so we will see more of their relationship progress over time.

Marvel character highlight #30: Gamora

Name: Gamora Zen Whoberi Ben Titan

Alias: Requiem, The Most Dangerous Woman in the Galaxy

Affiliation: Guardians of the Galaxy, Infinity Watch, Phalanx, Graces, United Front, Nova Corps

Special abilities: Superhuman strength, speed, durability and agility, master assassin, master martial artist, master of conventional weapons, master thief

Background: Gamora was born as part of the Zen-Whoberis race, which was wiped out by the Badoon/Universal Church of Truth (dependent on timeline). She was then found by Thanos and enhanced and trained in the assassin arts. Once she was ready, she was assigned to protect current timeline Adam Warlock and assassinate his future evil self, Magus. Though she failed to kill Magus, she continued her assignment with Adam until Thanos revealed himself as a massive threat to existence. She then joined Warlock and the Infinity Watch to take out Thanos. She dies and finds herself within the Soul Gem for a time. Once released, she fought to stop Thanos’ reign of terror with the Infinity Gauntlet but was erased from existence. She was restored with all of the other heroes, and later left Infinity Watch and joined the Guardians of the Galaxy.

Relationships: Thanos, adoptive father; Star-Lord (Peter Quill), lover; Nova (Richard Rider), former lover; Adam Warlock, former lover; Nebula, adoptive sister

First Versus appearance: Marvel vs. Capcom: Infinite

Appearances in other media:

Television: Silver Surfer (animated series), Ultimate Spider-Man (animated series), Avengers Assemble, Hulk and the Agents of S.M.A.S.H., Marvel Disk Wars: The Avengers, Guardians of the Galaxy (animated series), Lego Marvel Super Heroes – Guardians of the Galaxy: The Thanos Threat

Film: Guardians of the Galaxy (2014), Guardians of the Galaxy Vol. 2 (2017), Avengers: Infinity War (2018), Avengers: Endgame (2019)

Video games: Lego Marvel Super Heroes, Marvel: Avengers Alliance, Marvel Strike Force, Disney Infinity: Marvel Super Heroes, Disney Infinity 3.0, Marvel: Contest of Champions, Marvel: Future Fight, Guardians of the Galaxy: The Telltale Series, Marvel Puzzle Quest, Marvel vs. Capcom: Infinite, Marvel Powers United VR, Marvel Ultimate Alliance 3: The Black Order, Marvel’s Guardians of the Galaxy.

Top 5 on The Strip: Superman villain edition

Darkseid
Darkseid isn’t just a Superman villain, mostly because he tends to antagonize everyone in the Justice League. But it’s something about Kal-El and his goings on that apparently sets the Lord of Apokolips off. One of the most legendary battles that took place between the Man of Steel and the Omega King occurred in the superb animated film Superman/Batman Apocalypse. Watch the ending fight scene just to get a sense for how much Superman hates Darkseid.

Lex Luthor
Lex is to Superman what the Joker is to Batman. Lex uses Superman to gauge his arching skills and probably couldn’t exist if Superman were to ever vanish from the DC Universe. Somehow, some way Lex finds a way to remain a thorn in Clark’s side, whether he’s dead or alive or imprisoned. You can always count on Lex to stay ready in his pursuit of Superman’s defeat.

Doomsday
If adapt and react were a character, it would be Doomsday. Responsible for the death of Superman in 1992, Doomsday is known solely for being the slayer of Superman. He’s a beast that Superman has always had trouble fighting and successfully stopping, and any time he shows up, you know Superman will probably die.

General Zod
Always ready to clap it up with Superman, General Zod has a superiority complex and an ego the size of Krypton before it exploded. That’s Zod’s problem: He just knew he was right and knew what was best for Krypton. Generally, that involved fighting with the House of El and it generally involves fighting Superman at some point. This is a fight that supersedes an entire planet disintegrating.

Brainiac
The know-it-all supercomputer is one of Superman’s most obnoxious foes. He’s known for two things: His “twelfth-level intellect” and shrinking cities down and stuffing them into bottles. Sometimes, depending on the version, he’s also known for causing the destruction of Krypton. In any version of Superman’s battles, Brainiac is known as one of his most destructive and dangerous foes.

Property Review: Loki Season 1

Loki Season 1 unburdened with glorious purpose of multiverse

That mischievous scamp.
Loki, who slithered and slunk his way into our hearts in 2011’s Thor, has managed to somehow get looped in this illusion that we don’t love him the way we do. Naturally, he’s gone back to the beginning of his love affair with us, the Marvel faithful, and found a way to get us talking about him again. And we do it because, despite ourselves, we love him. And we love doing it because Loki’s debut season was burdened with glorious purpose and delivered.
We join our loveable narcissistic God of Mischief moments after he has teleported to the Gobi Desert in Mongolia in the 2012 timeline. If you’ll recall from those harrowing and chaotic moments of Endgame, the Avengers have just captured Loki after the Battle of New York. Loki’s been Hulk smashed, knackered and silenced with a mouthpiece, and the 2012 Avengers are ready to pack it up at Stark Tower while the 2023 Avengers are skulking around trying to acquire the Space Infinity Stone. But the Time Heist engineered by the 2023 Avengers has gone sideways. Within the confusion of the Hulk entering the scene in a complete rage, the Space stone is scattered and somehow lands at Loki’s feet. He seizes his opportunity for freedom, grabs it with all his might and teleports from the scene, thus ruining the Avengers’ attempts to temporarily borrow that stone. We all know what happens in Endgame after that, but where Loki managed to get off to was the question at the time. That’s answered in the fantastical world of his summer timeslip.
In the opening moments of this vaudeville delight, we’re reintroduced to the devil. This isn’t the Loki that we’ve come to love and mourn in Infinity War. This Loki is one who hasn’t quite redeemed himself. He doesn’t know who he really is just yet. He’s still at the beginning of the journey without the lessons learned. And this is where Loki shines. The introduction of the Time Variance Authority by way of Hunter B-15 — the wonderful Wunmi Mosaku — sets the tone immediately and gives the first clue that something is different. And everything is different, because we’re not in the MCU main timeline anymore, Toto.
The first episode alone steals the beatings of the heart by showing Loki — and us the viewer, by extension — the journey he should have taken. The TVA’s ruling power over the Sacred Timeline is mighty and powerful, and the true concept of the multiverse begins here with this one storyline beat. Years of buildup have prepared us for this, and it does not disappoint. Each beat of the story — multiple timeline branches, different universes, multiple versions of each character, time branching instead of being linearly shaped — hit one after another and it’s so much to take in. But this is the rub: It’s so expertly crafted here and done with so much care and nuance that months later, we’re still talking about all six episodes and what they mean for the future of the MCU. There are so many story branches opened now because of this that the dizzying nature of the multiverse slips in unnoticed to seep into later episodes and blow everything wide open.
And yet, even with its open nature, the show also has an isolated and insular draw. One of the core strengths is its ability to be humorous and thought-provoking with in-universe gags, easter eggs and references.
Somehow, Loki managed to be a miasma of questions about the implications of time travel and free will on the MCU while hilarious. No other show could feature a biting and witty villain who jumps through disasters in time (Category 8 hurricane in 2050, what?) with a bureaucratic pseudo-governmental agency represented by a time clock with a Southern drawl, who finds out he’s got female, child, future, supreme liar and alligator versions of himself, have them work together and tie it together as a subtle discourse on climate change.
There is no shortage of eclectic shenanigans going on in Loki, and it’s hilariously on point always. As is the soundtrack, because let us state this right now: Composer Natalie Holt outdid herself. The soundtrack is phenomenal and so well done in the way that it epitomizes what it means to be Loki. The themes used here could have easily been used in any Marvel theatrical release with Loki and they would have done well.
But let us not opine that everything in Loki going beautifully according to plan wasn’t also made possible with quality performances. Tom Hiddleston, at this point, is Loki. There’s no question that the dark brat prince of the MCU has cornered the market on our hearts through Hiddleston’s portrayal. Who else could make us simultaneously hate the Asgardian fool and love him so fiercely? The delicate touches he places on Loki’s motivations will have you rooting for the character from the moment he crashes into the Gobi Desert.
And along for the ride is, surprisingly, Owen Wilson. He’s a good actor, but in the confines of Loki, he’s in another echelon: Great. Wilson’s believable skepticism bleeds through and we’re all nodding our heads at his totally in-universe disbelief of the foolishness that is unredeemed Loki. He sees it through to the end, and he is the needed pin to tone things down to a believable state of affairs. Sophie Di Martino and Gugu Mbatha-Raw are refreshing and fun to dissect, given the nature of their characters. And the Loki variants — played by the equally fantastic Richard E. Grant, Deobia Oparei and Jack Veal — are important pieces of the puzzle who raise the bar of the cast exponentially.
And, let us devote a moment of reverence for Jonathan Majors as He Who Remains. Majors’ appearance is a master class in character development through exposition and narrative, moving the story forward while reminding you where it’s come from. He needed no crazy props, just charisma and charm, to explain not just who he is, but also why he is. His appearance in the sixth and final episode — For All Time. Always — is the most pristine entrance ever done in the MCU, and quite frankly, the most exciting in television in a long time. Majors delighted and enthralled us, luring us out to the precipice and having us hanging on his every word and action. We are unfathomably excited to see where he is going with the variant Kang the Conqueror in the upcoming Ant-Man and the Wasp: Quantumania.
Loki, long known to be equally parts vexing and enthralling, will return in Season 2. We are burdened with glorious purpose to be there from the beginning. Because after all, with one of the best scripts, best casts and best in-universe introduction, the sun is guaranteed to shine on its creativity and brilliance yet again.

Acting: 9.5
Story: 9
Production: 10

Overall score: 28.5/30 or 9.5

HOW WE GRADE
We score the properties in three categories: Casting (or voice acting in cases of animated), plot and similarities to its source material. Each category receives points out of the maximum of 10 per category and 30 overall. The percentage is the final score.

Strip Talk #31: DC finally getting back on track

Listen to me good when I tell you all something: DC has to do something. They’re getting hurt out there in the ring, and they can’t take too many more hits before it’s lights out. They need that ring bell to save them and fortunately for them, it’s coming in a few projects.
How they got here is not a mystery. Incoherent, nonsensical decisions with stars for their movies, the movies themselves being atrocious, and a lack of obvious planning and forethought. It was a lot, and it seemed like every time the company took a step, they stumbled. And their rival, the Marvel Cinematic Universe, was churning out hit after hit at the box office, adding insult to injury.
But there were beacons of hope: Television and animated properties.

DC has always had strong television and animation. Their Justice League characters are so well known that almost all have had multiple shows that have done well. Their animated movies and shows are so good that decades later, they’re still producing spinoffs that are just as good if not better than the originals.
So, this is their go-to in the bleak times.
When faced with hard times, Warner Bros. does what it knows how to do best: Milk something to death and ride that cash cow until the wheels fall off. And that’s why we’re getting great television in the form of Titans. That’s why more animated Batman is here to put the DC name on his back and carry everything across the finish line. That’s why we’re getting more Batman spinoff films and a Flash spinoff bringing back the Batman version that worked – Michael Keaton for those of you still playing along at home.
DC trades on what it knows works best for them: Nostalgia. And they are smart to do it. That bell has rung finally for DC, and they can get a breather from that beating the MCU and Kevin Feige has been delivering for the past 10 years. The body shots can maybe slow down, they can regain their footing and they’re finally doing something. Something worthwhile and exciting. It’s about time they come in with gloves ready for the fight game.

Lyndsey Beatty is editor-in-chief of Gaming Insurrection. She can be reached by email at lyndseyb[at]gaminginsurrection.com

Otaku Corner: Death Note Vol. 12

The Death Note saga comes to an end in Volume 12

Here we are, at last. The last volume of Death Note is here, and I could not be any happier to close the chapter on manga’s most self-righteous and sadistic character, Light Yagami. From the very beginning, he weaved a great web of deceit by utilizing a weapon of mass destruction. From test killing various criminals to intentionally killing international police officials (including this millennium’s Sherlock Holmes) and having the audacity to play God while wielding absolute power over every well-known police and security agency on Earth, Light has done it all. Rest assured, I will soldier though Mr. Yagami’s foolishness while doing this review.
After a successful attack on NHN studios, Mello and his partner, Matt, were able to capture Takada, bringing a slight interruption to Light’s and Near’s decisive battle set to take place in days. Mello, being clever, forces Takada to undress herself to remove any tracking devices, preventing her bodyguards and the police to find them. Mello cleverly places Takada’s outer clothes in a shipping box and leaves it at a package delivery company. Unknown to him, however, that Takada had a piece of the Death Note, a pen and a secret cell phone to contact Light.

Once Takada contacts Light, she tells him that she killed Mello, and Light fiendishly acts concerned in front of the task force members by asking where she was. At the same time, the news reports Matt’s death as he was shot by Takada’s bodyguards while attempting to fire smoke bombs at them. On the way to rescue Takada, Light uses a hidden piece of the Death Note to kill her after she calls Mikami to tell him to text her two days’ worth of criminals to kill. Near also tries to help with the search but is too late when the task forces find Mello and Takada dead after a fire, thanks to Light.
While Light and Near made their final adjustments for their last battle, NHN and other television stations begin to plead Kira to host his messages. On the day of the final showdown, Linder of the SPK drives Misa and Mogi, dropping the former at a deluxe hotel suite while driving to the meeting site. After arriving at the Yellow Box Warehouse and checking for wire taps and hidden camera, Light, Near and their allies met face to face. Near then asks everyone to wait 30 minutes for Mikami to show up and instructs everyone to act normal should he try to peep in on the meeting. Unknown to Mikami, Near has tampered with the real pages of the notebook. Once Light figured out that he was exposed as Kira, he first claims Near is setting him up and finally confesses that he is Kira.
As Light continued to bask in his “victory,” Near interrupts that he not only tampered with the Death Note Mikami had on him, but also he messed with the other one he kept in a bank deposit box. Light, still delirious, tried to kill Near with a hidden piece of the Death Note, but Matsuda shoots him multiple times. Light asks Ryuk to kill Near and the others with his Death Note. Ryuk refuses, stating that Light is near death because of his wounds; he would take Light’s life and did so without a second thought.
A year later, Matsuda and Ide talk about the case, and Matsuda stated that he believed that Near controlled Mikami. At that moment, Ide gets a call from Aizawa, who is now deputy superintendent of the NPA. Aizawa states that Near needs help investigating a drug syndicate’s deal in Japan occurring at the Yellow Box Warehouse. Once arriving, they join Mogi and the task force’s newest member, Yamamoto, joins the meeting with L. Meanwhile, a gathering of Kira worshippers convenes in a secluded area where their priestess (looking like Misa) place places a candle and prays for Kira’s return.
From beginning to end, Volume 12 of Death Note did not disappoint. All the writing and artwork surpassed previous editions, giving a great series a well-earned sendoff with hopes of continuation in the future. Ohba-san’s writing was spectacular in building suspense. Obata-san’s artwork was brilliant, keeping the suspense and action alive and allowing readers to see the aftermath of Kira’s (possible) demise. I am giving well-deserved praise to Viz Media’s Tesuichiro Miyaki for translation and adaptation that perfectly told the story, making this final volume — like the other English releases of Death Note — re-readable from beginning to end.
Death Note Volume 12 did not disappoint. I would like to thank you, Otaku Corner readers, for joining me through this series. One piece of advice: Be wary of shinigami and always leave out juicy apples for them.

Brandon Beatty is associate editor of Gaming Insurrection. He can be reached by email at brandonb[at]gaminginsurrection.com

Anime Lounge #21: Cowboy Bebop Episodes 1 – 12

Series: Cowboy Bebop

Episodes: 1 to 12

Premise: Space bounty hunter Spike Spiegel is always in search of his next target, and he finds unlikely helpers in retired cop Jet Black, the mysterious Faye Valentine and later legendary hacker Ed and the scientific genius pupper Ein. Spike must confront his past — running around in the mafia — in order to move forward with his future. How he does it to start leads to more questions than answers, ending with his first confrontation with former friend Vicious.

Is it worth watching?: YES. This is one of the god-tier anime that every new anime enthusiast should be required to watch. Production values, voice acting, cool characters and an awesome soundtrack … this anime has it all.

Breakout character: Faye Valentine. Yes, it could be all of the characters, but Faye definitely stands out. You want to know her deal, why she can’t remember anything and how she will ever get herself together. And then you find out later in the series, and it’s like, wow. The payoff for Faye is amazing, and you still want more.

Where it’s going?: Spike has to take on Vicious once again, reclaim his honor and handle unresolved business. He’s taking the crew along for the ride, and where they end up is the mystery.